• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.190-205
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• 2016

Buddhist stupas, which are a symbolic architecture of Buddhism and enshrine the Jinsinsari of Buddha, were reinvented as stone stupas appropriate for the natural soil of Korea from existing wooden stupas around the 7th century after the introduction of Buddhism. Later, the construction of a stone stupa was expanded to local areas from the central area around the 9th century; thus, stone stupas of more diverse local colors were built in a nationwide scale, and today it is called a "country of stone stupas". While focusing on the stylistic interchanges between stone stupas, which were established in each region in accordance with the localization of the establishment of stone stupas that was begun actively from the 9th century, this paper selected several cases of stone stupas among about 50 stone stupas in the Gangwondo-region. First, the study compared the stone stupas and Buddhist priest tower of Seollimwonji, Jinjeonsaji, and Geodonsaji, which are located at the same temple site as the current Buddhist priest tower, from among typical Silla style stupas that match the 9 stone stupas in the Gangwon-do region. This is because stylistic interchanges were possible while there were mutually organic relationships between Buddhist statues such as stone stupas, Buddhist priest towers, stone lanterns, and Buddhist pedestals, which used the same stone material along with the expansion of Buddhism to local areas in accordance with the spread of Zen Buddhism in the 9th century. Second, a comparison was made of the stylistic similarities between the Woljeongsa Palgakgucheong (eight sides nine-storied) stone stupa and the Sinboksaji Samcheung (three-storied) stone stupa, which are totally different in regard to the number of stories and the flat form. These two stone stupas are representative Goryeo stone stupas. The Woljeongsa stone stupa is a Goguryeo-oriented stone stupa with many sided multiple stories whereas the Sinboksaji stone stupa has been known as an early case of the insertion of the support of Tapsin in each story. Although the two stone stupas may look very different, but through close investigation it was confirmed that there were many stylistic interchanges between them and not only the seated stone Buddha statue in the cylinder jewel case in front of the stupa but also the stone stupa established by the same master. Consequently, this paper aimed not merely to mention the simple patterns of stone stupas, but, further, to trace the interchange in patterns in accordance with the construction period based on those patterns.

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.120-141
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• 2015

This paper is a preliminary study of architectural characteristics of Jangdae (general's podium), which shows one of the technical changes in fortification of Joseon Dynasty. As a facility for commands of generals and training for officers and men, it was located inside a fortress. Although it is not certain when the first Jangdae was built, the number of them dramatically increased around 18th century. Since the top priority function of the Jangdae was the prospect, it was installed at the hilly spot with open architecture. In addition, the open structure of Eupseong fortress towers on the riverside banks could simultaneously offer the functions as viewing around and Jangdae. Since Jangdae was also a place for military drills and reviews of soldiers, a wide podium was positioned at the front to muster the soldiers. This feature was standardized in the space organization of Jangdae in Joseon, and a mere podium was installed unless the topographic restrictions allows enough space. On the other hand, as a place for a commander, the hierarchy of the Jangdae was revealed through a variety of architectural characteristics. The hierarchy was assigned to the commander's space through the altitude difference, and diverse ornaments were added to show a sense of class. The floor plan of the Jangdae building can be largely categorized into rectangle and square, and the typical sizes of the former are $5{\times}4$ Kans (traditional measuring unit between two columns) and $3{\times}2$ Kans. Out of these two types, buildings of $5{\times}4$ Kans were found in flat land and eupseong fortresses with large space, and the relatively smaller ones of $3{\times}2$ Kans in mountain fortresses. All buildings of square floor plan had $3{\times}3$ Kans style, and the center Kan was twice wider than the side Kan to make the central space wide. It seems that the purpose was to secure the interior space of the upper story because the center Kan accounts for the floor area of the upper story. Some Jangdae's had internal story to form overhead space. The multi-roofed tower style with eaves attached to the upper and lower story is found exclusively in Jangdae. The buildings shows the Onkanmulim style which extends Naejinju (inner column) of the lower story to be the Byeonju (outer column) of the upper story, and the log-framed floor in the upper floor was structured by inserting the Changbang (connecting beam) between the Naejinju's and joining the log frames. In addition, the towers in eupseong fortresses had log-framed floor in the upper floor by setting up the high Nuhaju (column underneath a roof) and joining Cheongbang to the upper part of the column while it cannot be regarded as multi-roofed because only the upper part has a roof.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.62-79
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• 2019

This study examined the background of Gyeongju Seochulji Pond (world heritage, historic site No. 138), a historic pond in Sam-guk-yu-sa (三國遺事), and its landscaping period when it served as the garden of the Pungcheon Lim clan (豊川 任氏) in the middle of the Joseon dynasty. For this study, a literature review of poetry, prose, and a personal anthology, and a field survey were conducted. Changes in the landscape were analyzed by comparing the landscape appearing in the literature of the Joseon period with past photographs. The results were as follows: First, even though the function and landscape at that time cannot be guessed as the objective ground from Silla to the early part of the Joseon dynasty is insufficient, it has been managed as a Byeolseo (別墅) garden as Pungcheon Lim's family resided in the area of Eastern-Namsan Mountain during the Joseon dynasty. At that time, Seochulji Pond was recognized as a historic place. It functioned as the garden of Pungcheon Lim's family as Lim Jeok (任勣, 1612~1672) built the Yiyodang pavilion (二樂堂). Second, in the literature, the Yiyodang pavilion has been called Gaekdang (客堂), Jeongsa (精舍), Byeolgak (別閣) and Byeolseo, etc. It can be seen as Nu and Jeong (樓亭), utilized for various uses. Because of this, the name Bingheoru Pavilion (憑虛樓) has mostly been in common use. Third, Seochulji Pond was positioned where the scenery is beautiful, with Gyeongju Mt. Namsan (Mt. Geumo) in the background and with a wide field and the Namcheon River flowing in the front. This was typical of Byeolseo gardens of the Joseon dynasty, combining human environments with natural environments. Fourth, the relationship with the Byeolseo garden disappeared as the head of Pungcheon Lim's family added a temple, lotus flowers, pine trees, and a bamboo forest as described in the old poetry and prose. Currently, the landscape does not appear to be significantly different from that as development has not occurred in the area of Seochulji Pond. Also, crape myrtle (Lagerstroemia indica), which now symbolizes the Seochulji Pond, was not identified in the old poetry or past photographs and is not old enough to confirm whether it was prominent at the time. Through this study, it is necessary to reconsider the spatial meanings of the gardens of the Joseon dynasty period and not to highlight the area of Seochulji Pond as a place in the legend. This is a cultural asset in the area of Eastern-Namsan Mountain and has an important meaning in terms of garden history.

• Journal of the Korean Society of Radiology
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• v.12 no.7
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• pp.895-908
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• 2018

As modern science is developed and advanced, examination and number of times using radiation are increasing daily. General diagnostic X-ray generator is installed on stationary form, But X-ray generator was developed because patient who is in the intensive care unit, operation room, emergency room can not move to general x-ray room. What we examine patient by x-ray generator is certainly necessary, So patient exposure is inevitable. but reducing radiation exposure is highly important matter about radiation technology, guardian, patient in the same hospital room, nurse etc. For this reason, rule regarding safety control of diagnostic x-ray generator revised for radiation worker, patient and protector proclaim that mobile diagnostic x-ray shield must placed in case of examine different location excluding operation room, emergency room, intensive care unit. But, radiogical technologist is having a lot of difficulties to examine with mobile x-ray generator, diagnostic x-ray shield partition, image plate and lead apron. So, when we use x-ray generator, we manufacture shield tools can be attached to the mobile x-ray generator On behalf of x-ray shield partition and conduct analysis and in comparison to part of body and distribution of dose rate and find way to reduce radiation exposure through distribution of dose rate of patient within the radiogical technologist, medical team. Mobile x-ray generator aimed at SHIMADZU inc. R-20, We manufactured equipment for shielding x-ray scattered x-ray by installing shielding wall from side to side based on support beam on the mobile x-ray generator. Shielding wall when moving can be folded and designed to expand when examine. Experiment measured five times in each by an angle for dose rate of eyes, thyroid, breast, abdomen and gonad on exposure condition of upper and lower extremity, chest, abdomen which is examined many times by mobile x-ray generator. We used dosimeter RSM-100 made by IJRAD and measured a horizontal dose rate by body part. The result of an experiment, shielding decreasing rate of the front and the rear showed 77 ~ 98.7%. Therefore using self-production shielding wall reduce scattered x-ray occurrence rate and confirm can decrease exposure dose consequently. Therefore, through this study, reduction result which is used shielding wall of self-production will be a role of shielding optimization and it could be answer about reduction of medical exposure recommended by ICRP 103.

• The Korean Journal of Archival Studies
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• no.24
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• pp.215-274
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• 2010

Iron-making industries of the country, regardless of age has been the focus. This makes the iron production technology and production techniques that result in increased economic activity and because of the central charge. Therefore, the social development of ancient iron-making technology is based on phase-sensitive. Modern steel making up the monopoly of the country's target under the strict control of production, distribution was. It is essential to produce iron weapons was a threat is because you can keep the throne in the hands of the forces that can cause side effects when I went was to block. This study created a rail Cholbi(iron monument) and the regional distribution pattern of the production, construction background, looked on. Cholbi(iron monument) for the production and recording "the Annals of the Joseon Dynasty" often appear in history books and many academic interests, but was off target. Compared to a stone monument that was not generally as well as the Japanese colonial period and over the course of modernization destroyed, damaged a lot of cases the cause may be found in front. Cholbi(iron monument), except for the gravestones of the Joseon Dynasty monument erected in honor of virtue, as an example of content that dominated a packman business, founding of the school and confirmed that a few were built as a special purpose. Cholbi(iron monument) compared to the production technology or the cost of the monument's difficulty in financing follows. Therefore Cholbi(iron monument) the establishment of the Joseon Dynasty through the background of the economic situation and the local government can look. And iron technology began complaining about the object of history, economic conditions, with the change of season has been a change in people's consciousness tells you. Important data of ancient history as an epigraph that has been as important, the Middle Ages to modern times ranging from newly born to the time Cholbi(iron monument) in the development of the country's documentary subject to change should have been brought. Based on these discussions changes the identity of the hero monument and production inspector, review of production through the Joseon Dynasty period Cholbi (iron monument) contemplated the significance is reflected in production.

• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• 한국노년학
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• v.36 no.3
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• pp.673-691
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• 2016

As the provision of long-term care policy takes root and with a gradual increase in elderly population, the use of elderly care service has become a growing norm. More than ever, there exists an urgent need for a paradigm shift in the building of an institutional basis for the improvement of care service, from the prevalent practice of 'need based service' toward the concept of 'human rights based service'. A great focus is being shed on care-workers, at the 'front line' of advocating human rights, as their human rights advocacy behaviour is seen as a key variable in providing high quality care service for elders. This study aims to examine how care-workers' individual human rights awareness levels, and the influence of their respective organizations, as an environmental factor, affect their human rights advocacy behaviour. The study includes a comprehensive analysis of the interactions between the regulatory effect of environmental factors (service orientation?) on an organizational level, human rights awareness (individual level) and the service environment (organizational). The analysis sample consisted of 782 registered non-profit corporation of long-term care facilities all over the country in 2014. The findings of the thesis suggest that human rights awareness at individual levels has a significant influence on human rights advocacy behavior. The interaction of human resources management in service orientations was also found to influence human rights advocacy on a significant level. Both human rights awareness at individual level and service orientations at organizational level were thus determined as key variables for improving the human rights awareness of care worker in long-term care facilities in Korea.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.124-139
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• 2013

Choi Cheon-yak(about 1684~1755) is an artist who left the various artistic works such as sculptures of royal tombs, architectures. In addition, he was not only a skilled caster but also an able artisan carving jade in the early Joseon Dynasty period. Starting from making royal seals of King Suk-jong, he had made more than about 40 Royal seals until 1755. Choi Cheon-yak was well known as a skilled jade craftsman. Another of his great abilities was to carve subjects into ideal figures. In virtue of his greater abilities, he could take part in the process of constructing Royal tombs and sculpting the stone statues of military officials' which were erected at aristocrats' tombs. With these accumulated skills, when he was in charge of designing the folding screen stones for King In-jo's Jang Neong, he could even replace 12 animals system and clouds with peonies and lotus. Among his various abilities, his skill in carving a sculpture can stand comparison with any other contemporaries. His sculpture skill was at its zenith in 1752, the stone statues of military officials' at the Ui soseson's tomb count his showpiece that describes a model at the age of his late teens and is a realistic and portrayal sculpture, which met the royal family's dignity. In the same year, the stone statues of military officials' constructed by Choi Cheon-yak was elected in front of the Jo Hyen-myeong's tomb(1690~1752). This masterpiece referred to the armor of those of King Gong-min Neong and newly added a helmet and the patterns of a tortoise shell. These patterns of a tortoise shell were passed down to Park Moon-su's tomb in 1756 and Queen Jeong-sung's Hong Neung by his colleagues : Kim Ha-jeong and Byeon Yi-jin etc. He was one of the greatest sculptors in the $18^{th}$ century. People in Joseon praised him highly for his imaginative work from an amorphous object. Especially, these stone statues of military at Jo Hyeonmyeong's tomb shows the proofs of his supreme artwork.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.48-101
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• 2010

This paper estimated the calendar date of pottery with ring-rim(粘土帶土器) with the radiocarbon dating. This was based on archaeological facts with comparing line relations and radiocarbon dates of Yayoi pottery(彌生土器). As a result, I understood that pottery with circle ring-rim(圓形粘土帶土器) appeared in BC 6c, pottery with triangle ringrim(三角形粘土帶土器) appeared at the time in BC 300 . Based on the calendar date and aspect of ironware and pottery in grave, I kept in BC 4c with appearance date of ironware. And I kept in BC 5c with appearance date of the slim bronze dagger culture. Korea and Japan common chronological order were built for the first time based on radiocarbon dates, line relations of pottery with ring-rim and Yayoi pottery. This is the calendar date to date back approximately 100~300 years from the existing the calendar date. Current periodization does not match in the calendar date when I built it newly. Therefore I suggested it as follows. Early iron age is from the first~middle part BC 4c to BC 100. And the latter half of Bronze age is from BC 6c to the front appearance of ironware. Then Songguk-ri type(松菊里式) becomes staudard type of pottery in the middle stage of Bronze age.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.100-121
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• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.